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To say that the film starts out as a daydream of Diane's is correct, where everything is perfect, and so is Diane herself (being Betty). Starting out afresh, much unlike her current reality, where she has lost the love of her life, Camilla (Rita in her dream) to the film director Adam, and also outshoned by Camilla in the limelight. Diane's daydream shows us how she wished her life was like - being in control of Camilla (Rita) instead (ie. Rita being totally dependent on Betty), and where Adam's attention is instead on Diane herself - Diane wishes she was the centre of attention. The elderly couple represent Diane's (Betty's) conscience. When she leaves the plane, the couple also leave her presence. When they were chasing her around her room, that's her conscience catching up with her. In order to escape the realisation of the horror of what she's done (having Camilla murdered), she had to kill herself (this bit is real). The blue box is Diane's journey from sleep to reality. The blue key is confirmation that Camilla is dead. The other unexplainable Lynchian quirks in the dream sequences are only part of what Diane has seen in her waking hours, much like the way random things from our own everyday lives seep into our own dreams, thus making no sense.

The meaning of the movie? Well it's Lynch's own view of Hollywood - seedy, back-stabbing, where nothing and no one is what they seem (take ABC's rejection of the pilot, for example). Understand this and you will understand the movie.

I proposed the fffffffffffrr fffffff analysis of Mullholand Drive. Thanks for your comments and bringing to my attention that I hadn't left an REPLY address.
For whatever it's worth, it's been a while since I've posted my take on the film, and wouldn't change much, other than acknowledging that certain scenes do not confirm and/or fit into the the analysis.
It recently occurred to me that the dancing that accompanies the opening credits follows the fffffffffrr formula to a tee: the dancing, where everyone is Hollywood happy and hopeful, begins the film -- whch ends ends with an aspiring actress' dead on a couch on Mulholland Drive -- about as rrrrr as you can get - a point Lynch wants to drive home with a hammer, nail and cross.
Robert